Tags: funk

10 Dec 2009, Comments (0)

James K-Nine-Live it Up (Federal 1973)

Author: alex larotta
jamesknine45

Today’s menu: Face-melting ghetto funk from the most musical of American cities, the big ol’ Crescent City aka New Orleans, Louisiana. To step out of my recent coverage of Texas artists and records, I wanted to shed some attention on Mr. James K-Nine and his little ditty, “Live It Up” on Federal Records. Originally released on the local Nawlins-based Hot Hit Records in 1973, it was later picked up by Federal for regional distribution. Admittedly, not much information on James or of his recording catalog, but I can tell you in fine print under the song title reads the name “Bocage”. ‘Nuff said. Bocage, known to most others as the one and only Eddie Bo (R.I.P.), the pianist/composer/recording artist/producer, carries writing and production credit to this here 45 single. Mr. Bo often doubled as producer and arranger for a host of recording groups, putting his magic touch on ryththm and blues standards by incorporating funky backbeats, psych-tinged guitar licks and rockin’ piano chords, effectively reinventing the sounds of the Crescent City throughout his thorough recording career.

I caught this song in a dj mix I heard sometime ago, unbeknownst to me that it was part of the elusive and far-reaching catalog of Eddie Bo, I was immediately drawn to the overall tightness and impeccable in-the-pocket funk drumming in the rhythm. Good Gawd! Like many of Mr. Bo’s funkier side of things, the drums have a special warm and crispy attribute, accompanied by the bubbly thick low-end bass creating that uniquely ‘Bo’ sound. Vampisoul has an excellent reissue of Eddie Bo’s catalog and production credits, you can check out “In The Pocket With Eddie Bo” here, and check out Funky 16 Corners great homage to Mr. Bo here. Overall it’s a pretty simple track, I don’t generally get to play it out all too often, but I was ecstatic when I was came across this record recently at the Austin Record Convention. Since I couldn’t find any photos of James K-Nine, I’ll give photo props to producer/arranger Eddie Bo.

eddiebo

LISTEN: James K-Nine-Live It Up

4 Dec 2009, Comments (11)

Little Joe and The Embers-Soul Finger (1969 Discos Jesna)

Author: alex larotta
littlejoe45

Today’s post features some classic brown-eyed soul born and brewed here in our beloved Lone Star State. Little Joe, born Joe Martinez in Houston, TX, started his first band with The Embers in early 1961. Throughout the 60’s and early 70’s, there were two Little Joe’s of Texas and they were often billed together at events, concerts and shows as the “Two Little Joe’s of Texas”. The Little Joe featured in today’s post is Little Joe Martinez, cousin to the late great Tejano music legend, Rocky Gil of Rocky Gil and The Bishops fame. The other ‘Little Joe’ is Joe Hernandez, notable for his recordings with Little Joe and The Latinaires and Little Joe Y La Familia, some of which may be heard on Jazzman Gerald’s illustrious Texas Funk compilation, which can be found and purchased here. Released by Discos Jesna in Houston, Little Joe’s rendition of The Bar-Kays classic “Soul Finger” skews lightly on the vibrato horn work of the original and misses the children’s screaming of the title name, but still holds strong as a bonafied Texas soul burner.

Recorded and distributed by Discos Jesna of Houston, TX, Soul Finger was one of the first records produced by Natcho and Jesse (hence “Jesna”) Garza, two brothers who opened their small-time record label from their two-car garage in North Houston in the early 60’s. Little Joe and The Ember’s first recording of “Me Piden” topped the Texas Chicano music charts at # 1 for six straight weeks, it was also their first #1 record produced in their studio. Little Joe was also a vital character in the Houston Chicano music scene, he was friend to legendary producer & label owner Huey Mueax, and was involved with the distribution of spanish/country crossover hit, “Before The next Teardrop Falls”, recorded and produced by Huey’s Tear Drop Records, considered to be their biggest selling record by Texas music legend Freddie Fender. Little Joe continued to perform throughout the 80’s and 90’s under various band names and is widely recognized for his enormous contributions to Tejano music, playing with everyone from Selena’s father’s band Los Dinos to Sunny Ozuna to Selena herself, amongst a host of Chicano Texan music icons. Without a doubt, Little Joe Martinez is an integral part of Texas music and heritage. You can check out more of Little Joe’s resplendent music catalog here, and find out more on the formative years of the Tejano music culture on PBS’s wonderful Latin Music USA documentary series here.

Lastly, I would like to personally thank Little Joe Martinez for all his help and guidance on the information and photos for this week’s post, gracias por todo hermano!

LittleJoeTheEmbers1961001 littlejoeembers

LISTEN: Little Joe and The Embers-Soul Finger

21 Nov 2009, Comments (2)

Les Watson and the Panthers-Oh Yeah (Pompeii 1969)

Author: alex larotta
leswatson

Bursting forth from the southern soul mecca that was South Dallas in the late 60’s, Les Watson and The Panthers were an integral part of the legion of talented musicians flooding the DFW area. Their name might be familiar to any of those out there that have picked up Now Again’s delectable South Dallas Pop (Funk) Festival record, a definitive and remastered record capturing the famed 1970 festival, recently brought to light thanks to the efforts of Now Again’s general manager Egon and SoulTex’s label owner Roger Boykin amongst a slew of others involved with the process. And I highly recommend you check out KERA TV’s in-depth documentary on the festival with the aforementioned Roger Boykin and musician Wendell Sneed, you can check it out here.

Oh Yeah is a fun, upbeat slice of boogaloo rhythm with a light party anthem featuring some tough n’ tight horn stabs and a sleek rhythm guitar driving Les’s melody. Not much info on the band, though I found they were the house band at a few spots in Dallas’ nightclubs including The Funky Monkey and Lou Ann’s. From what I could gather, Les Watson and The Panthers released a few singles (including this one) on Pat Morgan’s Pompeii Records, a subdivision of the soul haven Atco label. My initial reaction when I came across this funked-up firey 45 was recalling the record label, and I had suddenly remembered that Pompeii had issued one of my favorite funkstrumental records of all time, none other than Ike Turner and The Kings of Rhythm’s “A Black Man’s Soul”. Can’t recommend that one enough, you can pick up some MP3’s here, or if you’re of the vinyl persuasion, I don’t think an original is TOO pricey on the bay, I was lucky to catch mine at a local record shop for a fair price.

I’ll wrap this up so not to drag on too much more, so sit back back and enjoy today’s slice of Texas soul.

Popfestivalflyer014

LISTEN: Les Watson and The Panthers-Oh Yeah

11 Nov 2009, Comments (3)

Carlton (King) Coleman-The Boo Boo Song (King 1967)

Author: alex larotta
coleman45

I’m writing today’s entry a tad bit early of our regular Thursday deadline due to the fact that I am leaving shortly to work in a remote area of the plush Texas Hill Country for the rest of the week (Medina, TX to be accurate) and will be effectively incommunicado. Thusly so, I have to keep this short and sweet and pack my bags here momentarily. BUT I’ll start by stating that today’s selection, King Coleman’s “The Boo Boo Song Pt. 1”, is a soul shattering burner from start to finish, and truly one of my all-time favorites.

King Coleman got his start as a radio DJ and gained popularity on Miami’s WMBM in the late 50’s, and continues to fill a popular spot on the late hours at the station to this day. It was here that he became a pivotal force in popularizing and exposing rhythm and blues, doowap, and soul records to a widespread Miami audience, and soon became a known figure in the regional radio scene. Coleman got a shot to record vocals over James Brown’s “(Do The) Mashed Potatoes” due to a record dispute with Mr. Brown and his label (King), and you can check out a clip of that wonderful slice of popcorn R&B and purchase Coleman’s entire best-of compilation (thanks to the great people over at Norton) here.

The Boo Boo Song captures the era of party-time nonsensical novelty songs of the 60’s almost perfectly, but it’s above and beyond anything that falls in that category. Coleman’s energetic wailing shoots like a cannon immediately after a Dr. Seuss styled vocal intro, and doesn’t let go until the very end. Interesting to note that Mr. Coleman’s early career is reported to have been quite influential on a young Clarence Reid, and inspired him to take shout-singing vocalizations and crazed energy of Coleman’s persona to a whole new level as an outrageous and ultimate ladies man (and true Godfather of Rap) known to us all as Blowfly. The Miami New Time wrote a great piece on Mr. Coleman a few years back, here’s a link to that article if you’re interested in reading more on his career.

LISTEN: King Coleman-The Boo Boo Song

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